As far as “plot” goes, as I get older I more and more suspect that “plot” is really being used, in the many incarnations of this argument, as a placeholder for a whole cloud of qualities found (or not found) in certain narratives, some of which actually constitute “plot” and many of which do not. What first led me to suspect this is the fact that many of the sternest exponents of “I want novels to have plots, dammit” are also demonstrably fans of, for instance, quite a few Robert A. Heinlein novels whose plots can barely be detected even by advanced scientific equipment. (Not just later Heinlein, either; go back and look at Beyond This Horizon). As it happens, I like some of those books, too, and what I learn from them, and from thousands of other books, is that what matters isn’t the presence of a carefully-engineered, structurally sound “plot.” What matters is whether a book entrances us into reading it or forces us to decode it — and “plot” is just one of several methods of getting us into the reading trance. It’s a good method. It’s not the only one.
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"Oh No Lev Grossman No", in Making Light (30 August 2009)Patrick Nielsen Hayden
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Of all the plots and conspiracies that ever entered into the mind of man, the Gunpowder plot stands pre-eminent in horror and wickedness. The singular perseverance of the conspirators is shown by the fact, that so early as in Lent of the year 1603, Robert Catesby, who appears to have been the prime mover of the plot, in a conversation with Thomas Wintour and John Wright, first broke with them about a design for delivering England from her bondage, and to replant the Catholic religion.
Guy Fawkes
Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded. If all you want is plot, go and read a Tom Clancy novel.
Warren Ellis
Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded. If all you want is plot, go and read a Tom Clancy novel.
Alan Moore
The scientistic sociologist wishes people to feel that he is just as empirical and thoroughgoing as the natural scientist, and that his conclusions are based just as relentlessly on observed data. The desire to present this kind of façade accounts, one may suspect, for the many examples and the extensive use of statistical tables found in the works of some of them. It has been said of certain novelists that they create settings having such a wealth of realistic detail that the reader assumes that the plot which is to follow will be equally realistic, when this may be far from the case. What happens is that the novelist disarms the reader with the realism of his setting in order that he may “get away with murder” in his plot. The persuasiveness of the scene is thus counted on to spill over into the action of the story. In like manner, when a treatise on social science is filled with this kind of data, the realism of the latter can influence our acceptance of the thesis, which may, on scrutiny, rest on very dubious constructs, such as definitions of units. Along with this there is sometimes a great display of scientific preciseness in formulations. But my reading suggests that some of these writers are often very precise about matters which are not very important and rather imprecise about matters which are. Most likely this is an offsetting process. If there are subjects one cannot afford to be precise about because they are too little understood or because one’s views of them are too contrary to traditional beliefs about society, one may be able to maintain an appearance of scientific correctness by taking great pains in the expressing of matters of little consequence. These will afford scope for a display of scholarly meticulousness and of one’s command of the scientific terminology.
Richard Weaver
Plot me no plots.
Francis Beaumont
Hayden, Patrick Nielsen
Hayden, Robert
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